Barriers to Diversity in Film – A Research Review – Aug 07

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7: What do we need to address and how? The review has indicated that under-represented groups in the film industry are not always equitably represented or treated, whether in the workforce, among audiences or in portrayal. This chapter summarises the main findings, describes some recent initiatives and sets out priorities for research and implementation. The film industry urgently needs to adopt a raft of forward-looking measures to ensure it can meet the challenges in a changing marketplace. 7.1 The workforce The workforce data in the UK indicate that women, minority ethnic groups, older people, women, and disabled people are under- represented in the film sector. There is no information on sexual orientation, religion or class. There is evidence that when women are present in the workforce, they are likely to be segregated into certain ‘feminised’ occupations, are under-represented as directors and screenwriters, in production jobs, and in leadership positions. There is little or no data on occupational segregation in the film sector of disabled people, minority ethnic groups, older people, lesbians and gay men. Minority ethnic-led companies account for 10% of the independent sector. Women and minority ethnic groups experience a pay gap with white men. There is little information about pay of other under-represented groups. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 166
Access to employment in the sector is complicated by the unique nature of the film industry, which is based on hundreds of small independent companies. The industry relies on casualised labour, is unstable for employment and recruits primarily by word of mouth networks and social contacts. Recruitment is often undertaken by someone in the production team. This culture of recruitment excludes most under-represented groups. The film industry is focused on London where the majority of film projects are negotiated and where the majority of the film workforce works and lives. The sector is dominated in leadership positions by white, male, middle-class, able- bodied men. Career progression in the industry suggests that this also works on the basis of who knows whom. Writers and directors are more likely to be approached directly through agents, managers, or film producers, than to approach certain individuals themselves. An exploration of agents and their relationships with under-represented groups may be important for future research. People may enter the sector after working for television. In fact, research indicates that opportunities in the wider audio-visual sector play an important part in career development. Initiatives taken by guilds and trades unions and associations will be important for changing the composition of the film sector. There is no research on career pathways through the sector by minority ethnic groups, disabled and older workers and lesbians and C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 167
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Barriers to Diversity in Film A Res
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CONTENTS Executive summary 7 1 Intr
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3.4 Barriers to progression through
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6.2 The business context 106 6.3 Th
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Executive Summary The review has in
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• Young people need advice on the
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• Disabled people are under-repre
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• Monitor sexual orientation, but
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1.1 Aims 1 Introduction: aims and s
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This review brings together researc
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The Select Committee on Culture, Me
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2.2 Cinema audiences and film relea
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including tackling social exclusion
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2.4 The changing population The UK
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2.5 Diversity and equality of oppor
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The Act also has implications for c
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A new inclusive equalities agenda t
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sectoral and labour market change.
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critical of the failure of equality
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• If the film sector increased th
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3: The film workforce Getting the r
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3.2 Workforce data on under-represe
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Table 3.1 Film and video industry w
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data in these statistics on gender
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London 2006 s 2006 London 2002 e (L
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Other 65 35 All 61 39 Source : 2006
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ecause film professionals from mino
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male respondents earned £50,000 or
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Of 106 applications to the New Cine
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South West 6 23 Source: Skillset an
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Most employees are recruited inform
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and minority ethnic people tending
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3.3.7 Qualifications The 2005 Featu
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very small numbers reported going o
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over their future finances. They al
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women experience ageing differently
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stereotyped as working class, even
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3.4.9 Commissioning and ‘ghettois
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older than the rest of the workforc
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Social benefits from the projects w
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for women who have caring responsib
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involved in a regular dialogue abou
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population, though the regional dis
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Table 4.1 Cinema audience by gender
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Table 4.3 Cinema audience by gender
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Cinema goers 13.1 86.9 PPV buyers 1
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general population (perhaps excludi
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4.4 Audiences for film on televisio
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Science fiction 1.7 7.1 1.8 7 1.1 3
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they were charming and displayed a
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‘Respectable cinema’ including
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4.6 Barriers to cinema attendance B
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launched an online Diversity Toolki
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• Half of people over 55 never go
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o initiatives to improve the distri
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All these debates are considered be
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5.3 Employment and portrayal Does e
Page 115 and 116: 5.5 Stereotypes The stereotypical p
Page 117 and 118: Russo analysed representation of ga
Page 119 and 120: than homosexual (Cover op.cit.). Ho
Page 121 and 122: ecause she is lesbian specifically
Page 123 and 124: analyses 150 films and concludes th
Page 125 and 126: The reasons for this under-represen
Page 127 and 128: Reasons behind the illnesses and th
Page 129 and 130: In a major report on the black and
Page 131 and 132: national stereotyping such as funny
Page 133 and 134: indiscriminate killing implies that
Page 135 and 136: people who live abroad like to hang
Page 137 and 138: However, a study in Sweden analysed
Page 139 and 140: the ways these film types have deve
Page 141 and 142: and ethnicity, and in any case, mon
Page 143 and 144: • A study of on-screen representa
Page 145 and 146: occupational groups, people from di
Page 147 and 148: Our society has changed dramaticall
Page 149 and 150: 6.3 The business case - an overview
Page 151 and 152: 2007). The Commission for Racial Eq
Page 153 and 154: eing disabled. The importance of th
Page 155 and 156: in Western style holidays, but UK t
Page 157 and 158: this specific audience and making a
Page 159 and 160: Positive actions on race equality i
Page 161 and 162: For example, women’s presence in
Page 163 and 164: 6.3.7 Legal compliance Companies ha
Page 165: • Studies on the business case in
Page 169 and 170: cinema tickets and rental films, an
Page 171 and 172: have children. Women scientists are
Page 173 and 174: teams encourage creativity. Recruit
Page 175 and 176: minority ethnic women writers or pr
Page 177 and 178: 7.5.7 Decision makers’ attitudes
Page 179 and 180: There is also a need for policy int
Page 181 and 182: has rarely been evaluated for its l
Page 183 and 184: The Leadership on Diversity Forum,
Page 185 and 186: as the key intervention in diversit
Page 187 and 188: housing management. Trainees felt c
Page 189 and 190: voice to otherwise marginalised and
Page 191 and 192: targeted funding for black and mino
Page 193 and 194: Bhavnani R (1994) Black Women in th
Page 195 and 196: Cowan K and Valentine G (2006) “T
Page 197 and 198: European Commission (2005) “The B
Page 199 and 200: 199 Institute for Employment Studie
Page 201 and 202: Murphy R (ed.) (2000) British Cinem
Page 203 and 204: Skillset and Equity (2006) “Analy
Page 205: UN (2000) “Gender and Racial Disc
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Barriers to Diversity in Film – A Research Review – Aug 07

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